New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-02-20

and briliancy, the adr0tnees OF tho grouping, the
variety OF tho action, the accurate solution OF many
problems in figure work, and O precision OF execnuon
so marked in every part that We can readily oeheve
Se So%ed Ga To So & Whether It was
hibited at Vienna unfinished Immediately before "
came here we do not know, but the cracking would
paint dry. although this might have been partly
due to the extreme cold of the Stewart gallery 1t was
in March, 1885. that THE TRIBUNE described the net
work OF cracks in the right hand halt and lower part
OF the picture, and siA months later Mr.. lheodore
Child visiting the gallery discovered repairs In pfo-
grcss as he inferred. But 1t appears that inc ohly
repairs at that time consisted Of the administration OF
another coat of varnish which partially disguised he
cracks unning through the horses and uniorms OF inc
curasiers and having nothing t 10 10 nut
have said before. when the public Is admitted
to see this picture have no doubt that 1t VIII De
found to be in much in proved condition.
We can make but slight mention OF the two superb
EXAMPLES of FortuDy which contain an artistic quality
not TO be found in the Bonheur or Meissonier ~ was
IN 1884 when Fortuny was living In the Malson
Vallin. Champs dEysees, that he painted the Ser
pent Charmers," which was exhibited tho following
wear together with the Spanish Marriage"
Whether this is the first second painting OF the sub
ject seems uncertain In Baron Davillies catalogue
under the date OF 1s7os recorded The S. re lent
aiterward read The subject painted for A.
T. Stewart" On the other hand NJ. Walther Fol de-
cares that the subject first painted tor his brother
matter is not important, tor fortuny never copied
picture. A subject painted the second time was
always painted from models Ike the fsf, AMI always
with notifications due to The artists second thought
Thus the Serpent Charmer " here differs from the
other. 1.-THE young Arab half nude lies prone upon
rug thrown the gronnd eyeing the snake which
winds toward him and raises its hend halt in defiance
hall in fear, before his face. In the other painting OF
this subject the snake is coiled about rabbit Just
behind sits the old snake charmer his face nearly con-
cealcd silently watching man and snake. over the scr
penis tail tall bird, long OF limb and beak,
motionless ana venerable oil aspect solemn persoh
cation OF the wisdom and experience OF all the ages
The time to be twilight and tue striped tents OF
the Arabs barely visible in the background OF the
desert. The is silent, mysterious and invested
with weird suggestiyeness not to be easily put INTO
words. Albert Wolt once took occasion 10 exalt
Fromenin at the expense of Fortuny declaring that
the latter only valued the East IA preteAt Tor his
exercises of lnmitable legerdeman" and never saw
but the surface" Ii Is true that Fortuny was no
preacher morllist and that he reoiced In his art
TOR arts own sake, but the painter OF the Serpent
Chnrmcr ' went below the surface and laid bare a
wealth OF suggestions which appeal to all magma
tons. The figure of the old Arab alone is worth
gallery full OF latter-day would-bc mysticism The
young living OH his breast is technical triumph
in the perfect rendering of relaxation the indications
OF ssomeness, and the vvacy yet trutbfulnees OF tho
drawing Take Geromes painting OF the same motive,
the young serpent charmer performing while the lean
old father looks on and after admiration OF precise
drawing and modelling and clever management OF
difficult background there is not very much lett But
Fortuny's picture may be counted inexhaustible
To pass from this to the Shore Of PORTER is to
pass from the shadows Of the Sphinx to the radiant
spendor of NeapOlitan sky. OF this picture ForIny
wrote the month before lie died There are some
women the grass, some bitllefS VINO pitinBe INTO
the sea- the remains of old chateau the walls of
garden, the to village All this in foil sun
light and without taking away single ray All Is
clear and gay, and how could 1t DO otherwise since
have so happily passed our summer Ny picture IS not
vet finished | need month OF work." The picture
painted at the VILLA Arata in the summer OF 1874,
the last of Fortuny's lite 1t painted with the
joyment and enthusiasm which he felt IN the painting
OF that snmmer and 1t remains his fresh rsthand i'm
preston OF the dazzling beauty of shore, sea- and sky
Tor II yas finished. This il shown in the figures
OF women and children in bright yariegated dresses
lying playing on the sand and grass but, after all
these figures only accents, and since their coorng
gwen and form suggested nothing more Il absolutely
needed or the essential alities nothing Is wanting.
The picture seems the last word OF luminosity. Tie
sky pure IN color Chinese porcelain and tho
soft cmul clouds reflect light upon the deeper blue
OF the water, while the shore swms In bath OF sun
shine. The purity and transparency OF the colors,
especially In the sky and the marveousy effective and
truthful Interpretation OF forms and colors In this
glazing light give tho picture place by itself even
among the works OF the founder OF school dealing by
preference with plain air effects But know oil moth
ing by any OF Fortunys multitude OF followers up.
preaching the quality of this yiyacious brilliant and
insprieng reproduction OF Neapohtan summer